It's one thing to say that you don't like the way the songs are
mastered, but it's another to make factually incorrect claims.
This really isn't fair to Josh, especially when you don't know
what you're talking about.

1. Fear of Haze is not clipping. None of the drum hits are.
They're getting limited/compressed a bit, as you would expect in
any piece of music with drums.

2. It's not that loud. Average of -7.88dB in the left channel and
-8.09dB in the right. Compare to the following mixes:

* The most recently posted FFXIII mix: -6.58/-6.74.

* tefnek's "Drop and Roll" from Streets of Rage: -7.29/-7.27

* Tetris Thirty-Plus Mix: -7.91/-7.84

* Sixto's recent Mega Man 2 mix: -7.61/-7.56

* Goat's "Froggy Mosh": -6.83/-7.34

And so on. I could find plenty more examples. This album is,
objectively speaking, no louder than countless other mixes and
projects on the site. If we were to compare to popular
electronica, you'd be even more shocked as tracks like Pendulum's
"Self vs. Self" has an average loudness of -4.78/-4.90 (and, IMO,
it still sounds absolutely amazing. Nobody complains about the
loudness.) That's literally twice the loudness of Fear of Haze
(+3dB = loudness increased by a factor of two.)

If I could recommend a maximum volume peak, I'd try 94 dB at
its very loudest; trust me on this.

3. This doesn't even make sense on so many levels. Digital audio
- and sound in general - is not measured like that. You can't say
one song is '80 dB' and another is '90 dB'. Digital audio files
have a variable amount of dynamic range depending on their
bitrate. For example, 16-bit audio (which is everything on the
site) has a dynamic range of 96dB. This means that the difference
between the quietest sound and the loudest sound can't be any
greater than 96dB.

Audio files thus are measured starting at -96dB (or lower,
depending on bit depth) and have a digital limit of 0dB. Anything
above 0dB is clipped audio. Practically speaking, this has little
to do with peaks. The "peak" just refers to the single loudest
point of audio. A song could be at -50dB the entire time, and
then a single snare could peak at 0dB. In fact, it is standard
practice in any genre of music to normalize the audio, bringing
the loudest peak to 0dB anyway. So, it makes no sense to tell
anyone what the "maximum volume peak" should be. It should always
be 0 dB.

But not only does that not make sense, but using numbers like 70,
80 and 90 dB don't make sense either, due to the way sound is
measured (as I described). You're most likely referring to the
dBSPL scale, which is based on the threshold of human hearing (0
dBSPL = silence, 130 dBSPL = threshold of pain, etc.) However,
you can't compare pieces of music on this scale. For example, if
I put on "Fear of Haze" and turn my speakers all the way down,
it's 0 dbSPL. If I turn them up to a low volume, that might be 40
dBSPL. In other words, dBSPL can't be used within a piece of
music to measure loudness. It's more of a measure of the volume
output of speakers or headphones.

So, what you really REALLY mean to say is that the average volume
level (RMS - root mean square) of the track is too high. But, as
I said earlier, that isn't really true either because there are
plenty of tracks with as high or higher average levels.

With all these nice arrangements, I can't help but wonder why
nobody bothered to complain about the sound so far.

Seriously.

It's obnoxiously loud in the same way as those insanely loud,
overcompressed commercials inbetween an average-volume programme
on TV.

When opened up in Audacity, one can see just how many times Fear
of Haze goes through the red to the point it's surprising it
doesn't distort as far as I'm able to hear.

The more frequent the 'clipping', or the highest peaks getting
cut off by the digital limit on a loud audio file, the higher the
chance of distortion will become, and the higher the chance of
losing finer detail in the loudest parts, essentially reducing
these to digital bricks.

I like the album, but this is one seriously annoying blight upon
it.

Just avoid this kind of loudness in the future, period.

That's what the volume knob is for.

If I could recommend a maximum volume peak, I'd try 94 dB at its
very loudest; trust me on this.

Anyway, 4 stars given for the album, 1 taken for the
distractingly loud sound.

I hope you'll at least check out this feedback; I'm not trying to
bring you down in any way, but it needs to be said.

Sparkle is amazing on this. Order of Ecclesia is easily one of my
favorite Castlevanias, and it was great to hear it get some love.
I feel the quality varies between some songs, but they still all
are very good stuff.

This album is nothing short of inspirational. I'll admit when I
first downloaded it, I was expecting rock or metal -- the typical
response to Castlevania. But I was pleasantly surprised and
introduced to Joshua Morse's music through this album. The man
never ceases to amaze me. I can't wait to hear what he has in
store for the future. I also support the idea of single-artist
albums, as mentioned by Radiowar.

I have only been able to download the three songs posted on the
site (my college does not let me use torrents or they'll shut off
my internet...)... So I'll have to wait until I get home to get the full
listing.

However, from what I HAVE listened to, and what i have listened
to on this site, I'll say this right now:

These are probably the best CV remixes I have heard to come from
OCremix, counting everything else that has been made here.

Full of energy, and i love the jazzy-rock textures, along with
the great use of percussive/jazz organs (gotta love them), these
are really sights to behold (or is that sounds to be-hear???).
Admirable job on them, and this definitely makes my "listen to
often" selection from OCremix.

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